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If the question of life or death resides in the hands of a deity, then the death penalty is a sin against that god. Yet if it’s in our own hands, a woman deciding whether or not to bring a child forth should not be made to feel guilty, or worse, that she herself has sinned.
Comparing “astronaut” to “cowboy” ethics can show that Locke’s limits on liberty need to be revised. We once could see that pitting self-interest against collective self-preservation wasn’t rational. Me-opic and logically unworkable ideas that economics sometimes encourage have made that harder to see.   
American Impressionism’s often been seen as a pale copy of the French Impressionism that flowered in the late 19th century. Although American Impressionists early on copied their French counterparts (and even made pilgrimages to Monet’s Giverny garden and home), the exhibition The Artist’s Garden: American Impressionism and the Garden Movement, 1887–1920, at the Pennsylvania Academy of the Fine Arts through May 24, 2015, proves that American Impressionism quickly blossomed into something distinct—and distinctly American—by the turn of the 20th century. Capturing aesthetically a moment of contradictions as American nativism threatened to close borders while women’s suffrage struggled to open doors, The Artist’s Garden demonstrates the power of flowers to speak volumes about the American past, and present.
While it’s easy to laugh off a pseudo-religion that battles cosmic tax auditors and exorcises invisible atomic volcanic gremlins, that’s merely the hypnotic gibberish hiding the organization’s true intention: amassing capital and property worldwide. And like many other religions, they’re wildly successful.
Of the many concepts of Judaism artist Mark Rothko took to heart, the idea of tikkun olam, Hebrew for “repairing the world,” penetrated the deepest. In Mark Rothko: Toward the Light in the Chapel, academic and a cultural historian Annie Cohen-Solal cuts to the heart of Rothko’s life and art and sheds new light on how both seemingly had to end at The Rothko Chapel (shown above), the Houston home of Rothko’s final works that he tragically didn’t live long enough to see himself. In this tightly focused new biography, Cohen-Solal shows us both how The Rothko Chapel culminates Rothko’s life-long mission to repair his world and how it continues to serve as a light of hope in our darkening world.